This recording was made at a concert performance at the Berlin State Opera as long ago as 1993. Presumably it has taken so long to appear because Barenboim’s complete 1992 Bayreuth Walkure came out at about that time (Teldec, 10/93). The overriding reason for its existence is undoubtedly the presence of Domingo as Siegmund. As on many subsequent occasions in the opera house he sings the role with predictably glowing tone and Southern passion but, for all one’s pleasure in hearing such vocal amplitude, he still sings German as if he had learnt it by rote. Anyone familiar with such interpreters as Melchior, Suthaus, Windgassen or Jerusalem will miss the added sense of idiomatic conviction they bring to the part.
Polaski cannot be faulted in terms of accent or vocal consistency, but like many Brunnhildes who sing Sieglinde, she sounds a shade staid for the youthful twin sister. I sense little or none of the vital, freedom-seeking impulsiveness achieved by Lehmann, Rysanek and Varady on disc, even Secunde on Barenboim’s complete version. Tomlinson as Hunding provides just the illumination of the text and sheer theatrical elan the others miss. Always heard more happily in the true bass roles in Wagner, where his topmost notes don’t come under pressure, he delivers the role in the most sinister way imaginable.
Barenboim and the orchestra supply deliberate, beautifully shaped but slightly cautious support, so, all in all, the act never takes wing. The recording, with no sign of an audience being present apart from applause at the close (though I am assured this is a straight ‘take’ from the theatre), is faultless, but Teldec needs hauling over the coals for omitting text and translation – not really tolerable at full price – and for making the back of the jewel-case unreadable through arty printing. Still, Domingo-seekers will not be disappointed by their hero’s more-than-worthy Siegmund.'